Untitled

Zach Feuer <3s Joel Mesler of Untitled. After launching a space together in Hudson last year, these two gallerists are now moving into a 3,500 square foot loft space (319 Grand Street) in the LES. Feuer will leave his gallery in Chelsea. “I’ve been in Chelsea for 15 years and I kinda wanted a change.” Feuer said. “I have a better time when I see shows on the Lower East Side, and I don’t mean that as a knock on Chelsea in any way.” Sure, who would see that as a knock? [Artnews]

David Chipperfield has been picked to renovate the southwest wing of contemporary and modern art. That means more space for the contemporary collection (which will have to sublet a place at the Breuer Building) and twice as much Roof Garden. Get ready for the Met’s massive 2020 roof party! [Observer]

More on NYC’s ferret vote: Earlier this week the city decided not to overturn its 16 year ban on keeping ferrets as pets. But of the 10 members voting five abstained. Why? Bruce C. Vladeck abstained because he decided he didn’t care about the subject. Other members abstained because they were worried about public health issues. Anyway, apparently hedgehogs are also banned pets in NYC. The next battleground? [The New York Times]

The TEFAF Art Market Report is out. Let me guess: the art market grew? Yes, indeed. The interesting tidbit here: Sales made at art fairs account for 40 percent of all dealer sales in 2014. The fairs are here to stay. [TEFAF]

The best analysis of the TEFAF report, which has not yet been released in full, comes predictably from Marion Maneker. “The biggest issue is that McAndrew is simultaneously claiming a 7% rise in Euro terms (with a congruent 6% rise in transaction volume) and a 20% fall in Dollar terms” Also, there’s this: “Here’s another troubling statistic from the report. McAndrew says Contemporary and Modern categories account for 76% of all sales. Contemporary is just a hair’s breadth from becoming the majority of the market, McAndrew claims. That would be a landmark (and possibly unsustainable) event.” [Art Market Monitor]

Josh Baer on the ADAA art fair: “A major exhibitor who brings a diverse group of major works each year explained why the fair has turned into ‘theme’ shows and one person booths, we think to the overall detriment to the fair. As there is an application process for the coveted booths all dealers must submit early on a plan for their exhibition – they can’t just say ‘trust us to bring great things as you know our program,’ instead they must come up with forced artificial ideas. We think the organizers should hit the reset button on their strategy.” [BaerFaxt]

I haven’t talked to a single person who isn’t sick of the art fairs, but since we’ll all be in Miami this week for them, we’re in this shit together. So let’s make this as quick and as painless as possible. Here is the Art F City fair guide. We didn’t bother listing everything because it’s not worth trying to see everything. A little curation never hurt anyone.

Not much connects the Lower East Side’s current crop of summer shows, except maybe for a shared inclination towards some (much-needed) weirdness. 47 Canal brings a seaweed-covered TV to DTR, while those looking for their fix of visual hallucinogenics should head to Lisa Cooley’s Eric’s Trip. UNTITLED’s The Husk, meanwhile, has the creepiest thing you’ll see all summer in the form of Josh Kline’s disembodied FedEx worker heads.

Just a disclaimer folks: I like talking about the weather. Given that that’s the case, here’s the New York weather report for the day: It’s really cold here and is only going to get colder. It’s also snowing and is slated to do so through early tomorrow morning. Bundle up, folks!

Meanwhile, here’s what you need to know in art news this morning:

Red Hook artists are suing their landlords for rent stabilization! After the company Harbor Tech raised rents by as much as 60% in one year. “Because they expected rents to remain affordable for years, tenants say they spent tens of thousands of dollars on their homes, installing showers and in at least one case an elaborate claw-foot tub, full kitchens and screen doors to let the breeze in on stuffy summer days,” the article reads. In other words, artists were naive enough to make a home in New York City. [WSJ, behind the paywall]

Artsy releases their annual report. Um, what kind of annual report is this? Zero financials. A list by month of key projects executed. In May, that was running a relay race. [Artsy]

Mossless has a new column at VICE interviewing documentary photographers. Up first: Curran Hatleberg. [VICE]

Here’s a picture of Garage magazine editor (and partner of billionaire Roman Abramovich) Dasha Zhukova sitting on a black woman. The image, which ran with an interview on the Russian style website Buro 24/7, was posted on MLK Day and has since been cropped. Zhukova’s chair is riffing on a white bondage chair from the sixties. I guess that’s why she thought this is edgy? [telegraph]

Finally, Millennials strike back! We’re not as entitled and selfish as our complacency suggests; it’s just that everything is terrible and thanks to generations before us, we don’t have any choices. Still, we really do need to buck up. [Salon]

Here we go again: Art Basel Miami Beach 2013 just released the names of this year’s exhibitors. Though the list runs about as long as last year’s (258 in 2013, 257 in 2012), the fair has added Edition, a new section of 13 art publishers that includes New York’s Pace Prints and Two Palms. And though there are some Western European additions (mostly from Berlin), Art Basel’s press release notes that nearly half of this year’s exhibitors are from the Americas, making the Miami Beach show “the premier destination for galleries from the United States and Latin America.” That includes a couple more local Florida galleries and Chicago’s Corbett vs. Dempsey, which was added to the Nova section.